Theatre Horizon’s ‘Faustus’ launches its ‘New Directors’ Movement’ programme
It was my pleasure to be invited to witness a run-through of Faustus, presented by Theatre Horizon in Hong Kong, at their regular rehearsal studio in Tai Kok Tsui.
Christopher Marlowe’s Doctor Faustus, the story about a human selling out his soul to the demon for his desires, is already considered as a classic, always been revived by theatres in the UK, including the Shakespeare Globe version in 2011 with Arthur Darvill as Mephistopheles, and the recent Jamie Lloyd controversial production with Kit Harrington and Jeanna Russell, channelling the demon in female form.
Even Punchdrunk had once adapted it into one of their immersive theatre ventures, which basically establishes its fame.
In Hong Kong, however, this classic is rarely produced.
The recent one is already in 2010 produced by Hong Kong Repertory Theatre, with Hong Kong film and television star Man Tsz Leung as Mephistopheles. It is not surprising to people in Hong Kong that such classics are not constantly produced as much as in the UK, since Hong Kong people might not be so familiar with these classics that theatre companies will not have the courage to produce them.
HKREP might only produce one Shakespeare or one Chekov play every few years, while other theatre companies produce more contemporary classics instead.
This might be the reason why Theatre Horizon artistic director Chan Chu Hei decided to give world classics a chance in Hong Kong, and through these classics to nurture new young directors, launching a programme called ‘New Directors’ Movement’.
‘I know some directors who have been graduated (at the Hong Kong Academy of Performing Arts), and one day I talked to them as a chat. Through that, I discovered that their careers are mostly being assistant directors in regular productions, not really having a big opportunity to direct a show. Even if they do have, those productions were only in small scales. The opportunities for these directors to direct a legit production of a classic, just like what they had experienced in APA, is nearly to nil.
‘However, to me, no matter one is a director or an actor, one can only thrive and be improved by doing world classics, to open up their scope in their profession.
‘These directors, they actually are willing to get close to world classics, but the resources in the city is really limited for them to do so. I thought, would Theatre Horizon be able to help them instead? Thus, I asked several directors is there any world classics that they really want to tackle, and see if Theatre Horizon as a professional theatre company can get some funding to support their creation.
‘The cast and crew of these productions are all selected totally by the directors themselves. (The programme) is not about the products. I do not think the products will be idealistically perfect. It is more about giving these talents a platform for them to explore for possibilities (on tackling classics).
‘There will be problems and hardships, even (professional directors) experience turbulence when directing classics, but through this programme and the experience, these young directors can locate the problems they need to face, and through that, they can find their own paths, as well as their own style.’
What Mr Chan has said is basically what I feel about the current landscape of theatre in Hong Kong. Most young directors do not have the opportunity to direct a full-length play with subsequent funding, and thus they do not have the time to dig deep into a production, not to mention world classics which requires directors and actors to be experienced. Without the first step, how can these classics be survived and be seen professionally in Hong Kong?
From what I saw in the run-through of Faustus, directed by Chow Wai Cheun, I think Mr Chan is heading the right direction. Not to mention the adaptation of the script speaks contemporary, but even the execution of the production immediately tells me the vision of the director.
When I was watching, I just had a feeling of delight, telling myself that this is a production of Marlowe’s classic that is going to be young and vibrant. Unfortunately, I could only see half of the run-through, but it already gives me great expectation to see the actual production.
‘Faustus’ opens at Sheung Wan Civic Centre on 4th May 2017.
Info: http://www.theatrehorizon.com/faustus_e.html
Originally published at The Typewriter.
